Keywords

• This essay
• which presents the special issue of Cinéma & Cie and discusses the reasons that led to it and its main aims
• is divided into four parts. Starting from the relevance that Figures III has had in film studies
• the first part focuses on its role in providing both a theoretical frame and singular tools to film analysis and discusses the particular nature of theoretical borrowings from Figures III as well as the ambivalence of Genetteâ€
• ™
• s narratology towards cinema. However
• even this strong interest in Figures III seems to be exhausted now. This
• together with the general indifference of film studies to Genetteâ€
• ™
• s last works (in the fields of narratology
• poetics and aesthetics) is linked
• in the second part of the essay
• to a broader crisis concerning both literary and film theories and the notions of â€
• œ
• cinemaâ€
• 
• and â€
• œ
• film culture
• â€
• 
• asthey have been conceived in the 20th century. In the third part
• it is the strict relationship between Genetteâ€
• ™
• s poetics and aesthetics that is taken into account
• in order to discuss how Genetteâ€
• ™
• s notions of immanence and transcendence could be useful for understanding the socalled â€
• œ
• post-cinemaâ€
• 
• landscape
• as wells as contemporary urgent issues such as media and movie â€
• œ
• piracy.â€
• 
• To conclude
• the last part of the essay presents the main topics developed in the special issue
• together with some other still open questions